In Ando's view, the meeting between building and nature is an
essential aspect of architecture - one that is unfortunately
lacking in the modern era. Ando seeks to reforge this connection in
many of his works.

"My approach towards architecture is to create harmony between
architecture and elements of nature; such as light, wind, the
sounds of nature and waves, and rich sceneries. I want all these
aspects to be combined with the ambition to create a comfortable
space executed with the arrangements of the geometry."

"The meeting between building and nature is an
essential aspect of architecture"

Natural materials and traditional craftsmanship are hugely
important to Ando's caring and respectful approach to nature. This
deep passion was among the reasons he chose to partner with Carl
Hansen & Søn without a moment's hesitation. Ando knew that Carl
Hansen & Søn has, for over a century, demonstrated expertise in
using the finest craftsmanship to build wooden furniture designed
by the world's best architects. The partnership, which has proved
immensely and mutually inspiring, has now culminated in the launch
of the Dream Chair.

One of the world's most influential architects, Ando brings to
the table a fascinating, unconventional background. In 1951, at age
10, he started working as an apprentice for a local carpenter in
Osaka, Japan. There, he had the opportunity to work with wood,
building models to explore the material's countless properties.
Ando was an exceptionally independently minded apprentice,
preferring to work things out himself, without his master's
involvement. At 15, he discovered a book of Le Corbusier's sketches
that aroused his serious interest in architecture.

"Ando has frequently cited his admiration for
the Danish masters, often using their furniture in his own
buildings"

Ando has never had formal training, but after a brief boxing
career, he set off on long trips to Africa, the USA and Europe to
study architecture on his own. In Finland and Sweden, he
familiarised himself with the work of Aalto and Asplund; and in
Denmark, he was deeply impressed by the iconic furniture of Hans J.
Wegner and others. Since then, Ando has frequently cited his
admiration for the Danish masters, often using their furniture in
his own buildings. Designing furniture for Carl Hansen & Søn
thus seemed an appropriate next step.

Since founding Tadao Ando Architects & Associates in 1969,
Ando has constructed over 150 buildings of all sizes. In Japan, his
numerous works include the Row House Sumiyoshi, the Awaji Yumebutai
International Conference Center, the Church of Light in Osaka, and
the Rokko Housing complex. Among his many international projects
are the Modern Art Museum of Fort Worth in Texas, Pulitzer
Foundation for the Arts in St. Louis, the Punta Bella Dogana Museum
in Venice, and the Siddhartha Children and Women Hospital in
Nepal.

"Row House Sumiyoshi, Osaka"

"Church of Light, Ibaraki, Osaka"

"Pullitzer Foundation for the Arts, St .Louis,
Missouri, USA"

Ando has won many prestigious awards over the course of his
career, including the Carlsberg Architectural Prize in 1992, the
Pritzker Prize in 1995, the Premium Imperiale in 1996 and the Gold
Medal of the Royal Institute of British Architects in 1997.

Ando's architecture is characterised by its simple, clean lines,
self-assured spaces, and stringent, geometric layouts. The
powerful, minimalist expression of his buildings unites the
Japanese design traditions with western Modernism.

" The powerful, minimalist expression of his
buildings unites the Japanese design traditions with western
Modernism"

Ando's constructions are often executed exclusively in concrete
- a material whose possibilities he has explored throughout his
career. He is known for his work with in-situ concrete, using
smooth plywood sheets for casting the concrete to give it a smooth
surface - apart from the holes left by the mould, which have become
part of his architectural signature. Ando's choice of materials -
combined with the use of sound and daylight, of which he is also a
sublime master - defines spaces and volumes, making them stand out
more clearly.

Chichu Art Museum, Naoshima, Kagawa

4x4 House, Kobe, Hyogo

Built in 2004 on the island of Naoshima in southern Japan,
the Chichu Art Museum epitomises the essence of Ando's
architectural philosophy. The unusual museum houses a permanent
exhibition of works by Claude Monet, James Turell and Walter De
Maria. To avoid intruding on the island's spectacular
natural beauty, the art museum has been built into a mountainside,
underground. Although almost invisible, the building features
geometric protrusions one can see from the air. In designing the
Chichu Art Museum, Ando wanted to rethink the relationship between
nature and people, and his solution is a triumph.

"Although almost invisible, the Chichu Art
Museum features geometric protrusions one can see from the air"

"Despite the museum´s subterranean location,
the galleries are amply illuminated with daylight"

"To aviod intruding on the island´s spectacular
natural beauty, the art museum has been built into a mountainside,
underground".

Visitors cannot fail to be captivated by the spirituality
of the place and the dramatic encounter of earth, sea, sky,
architecture and art.

Despite the museum's subterranean location, the galleries
are amply illuminated with daylight, which Ando varies and controls
to alter the appearance of the artworks and the ambiance of the
rooms throughout the day and seasons.

The elegantly designed rooms provide a beautiful backdrop for
art but are also suitable for sculptural pieces of furniture. Ando
personally suggested the Chichu Art Museum as the ideal setting for
photo shoots of the Dream Chair, which references his architecture
in many ways: "I decided to have the photo shoot of the Dream Chair
at Chichu Art Museum in Naoshima because I believe the museum is
one of the finest examples expressing my interpretation of space
and approach towards architecture. I see a similar intention with
the Dream Chair."

"Ando personally suggested the Chichu Art
Museum as the ideal setting for photo shoots of the Dream
Chair"

"The Dream chair and the museum are each
created from one material - three dimensional plywood and concrete,
respectively."

"I decided to have the photo shoot of the Dream
chair at Chichu art museum because i believe the museum is one of
the finest examples expressing my interpretation of space and
approach towards architecture. I see a similar intention with the
Dream Chair"

The chair and museum interior are each created from one material
- three-dimensional plywood and concrete, respectively. The
concrete surfaces offer a clean, expansive backdrop for the Dream
Chair, while soft daylight from various angles directly and
indirectly accentuates the chair's organic lines. The smooth, grey
concrete also contrasts with and complements the warm undertones of
both the oak and walnut versions of the Dream Chair.

A collaboration between Tadao Ando and Carl Hansen & Søn
was, in many ways, inevitable - particularly given the shared
values underlying their respective bodies of work. The launch of
the innovative Dream Chair marks the culmination of the symbiotic
partnership.

"Carl Hansen & Søn´s invitation to design a
chair was a great challenge, and one that Ando accepted with joy
and humility"

As one of the world's leading and most respected architects,
Tadao Ando has created over 150 architectural works around the
world. Yet while he had selected chairs designed by architects and
designers for a number of his buildings, he had never himself
created a piece of furniture. Carl Hansen & Søn's invitation to
design a chair was therefore a great challenge, and one that Ando
accepted with joy and humility.

"Needless to say, I learned about the
architecture and arts of Europe, and was particularly impacted by
the work of the Danish furniture masters - such as Hans J.
wegner"

Ando became aware of Scandinavian architecture as a young
man, and was captivated by Danish furniture design and its quality
craftsmanship. Ando is a self-taught architect - and while
demanding, his independent path has allowed him to choose which
masters to study. "Needless to say, I learned about the
architecture and arts of Europe, and was particularly impacted by
the work of the Danish furniture masters. The remarkable
craftsmanship and design inherent to Hans J. Wegner and Arne
Jacobsen's iconic work appealed to me at first sight," says
Ando.

"The Japanese architectural tradition has
always been closely tied to nature"

The Japanese architectural tradition has always been closely
tied to nature, which the Japanese have excelled at integrating
beautifully into their immediate physical surroundings. This talent
led to the development of Japan's unique building tradition and
craftsmanship, which have inspired generations of Western
architects. But according to Ando, Japan is now in the process of
losing its fundamental connection to the natural world.

"The passion and respect for wood visibly
shines through Danish furniture"

"We should go back to our roots and reevaluate what nature
offers us. I very much admire Northern Europeans' respect for the
natural environment, and their ability to develop high-level,
sustainable timber technology. The passion and respect for wood
visibly shines through Danish furniture," says Ando, pointing to
Carl Hansen & Søn's design philosophy. For over 100 years, the
company has produced sustainable furniture of enduring beauty using
natural materials and traditional craftsmanship.

"It was an honor to be considered to contribute
to Carl hansen & Søn´s collection, which includes such
masterpieces as Wegner´s Wishbone Chair"

Ando found his encounter with Carl Hansen & Søn's furniture
makers inspiring from the outset. "I was touched by the passion I
encountered at Carl Hansen & Søn - and the company's clear
intention of creating no-less-than-perfect wooden furniture," he
says. "It was an honor to be considered to contribute to their
collection, which includes such masterpieces as Wegner's Wishbone
Chair. The quality they deliver is so high that I was greatly
inspired to work very hard to meet their expectations."

"My intention was to create a piece that
provides not only physical comfort, but gives people hope"

Before setting out to develop a new chair, Ando asked himself
the basic question of what a lounge chair should offer, arriving at
this: "In my mind, a chair should inspire you to sit in it and feel
comfortable. It must hold aesthetic values, too - it has to look
beautiful. My intention was to create a piece that provides not
only physical comfort, but gives people hope; gives them a space
and time to think about themselves and their future. I imagined a
piece of furniture that inspires you to dream." Based on these
objectives, it was obvious that the resulting design should be
called the Dream Chair.

" The development work between Ando and Carl
Hansen & Søn´s factory in Aarup, Denmark required ongoing
intercontinental communication, numerous meeting, and the
production of several mock ups".

The development work between Ando and Carl Hansen & Søn's
factory in Aarup, Denmark required ongoing intercontinental
communication, numerous meetings, and the production of several
mock-ups. The result - presented as a prototype in Milan in April
2012 - is a sculptural, almost floating chair ideal for large
rooms, where it can be enjoyed from many angles. The Dream Chair is
also comfortable, allowing relaxed reflection.

"Using concrete as a simple, single material to
evoke rich space parallels the idea of using a single material -
veneer sheet - to define the chair"

In his new role as a furniture designer, Ando was able to draw
on his room design experience. "When developing the Dream Chair, I
took an approach similar to the one I pursue in architecture. Using
concrete as a simple, single material to evoke rich space parallels
the idea of using a single material - veneer sheet - to define the
chair."

"The Dream chair is made of three-dimensional
oak or beech veneer sheet, which is curved along two axes during
the moulding process"

"Dream chair by Tadao Ando, Chichu Art Museum,
Naoshima"

The Dream Chair is made of three-dimensional oak
or beech veneer sheet, which is curved along two axes during the
moulding process. Working closely with Carl Hansen & Søn
cabinetmakers, Ando shifted the boundaries for what was considered
possible using this material. Commenting on the exciting process,
he says: "Achieving simple veneer sheet curves is a
long-established technology. We wanted to step forward and exceed
the two-dimensional curvature limitation. We pushed the limits of
our chosen veneer sheet size, bending it at new angles to achieve a
dimension and form that fits to become a chair."

"The Dream chair was launched at Salone Del
Mobile in 2013"

We live in a time characterised by rapid development - also in
architecture and furniture design - and continual experimentation
to find new ways to offer comfort and new solutions that can
satisfy modern users' needs. Against this backdrop, Tadao Ando
encourages reflection: "Innovation is important - but we should not
forget our roots and our relationship to the environment. In that
sense, companies like Carl Hansen & Søn - where such values are
highly respected, having crystallized over 100 years - serve as an
excellent example we can learn from."

The requirements for new furniture in the Norwegian Government's
building no. 6 in Oslo were challenging and exciting. Among other
things, the furniture had to simultaneously be institutional,
formal - and relaxed.

"My furniture selection is based on a number of different
project requirements. However, there is one thing I always look
for, whatever the nature of the project. A piece should never look
like there has been a great deal of effort behind it. Rather, it
should suggest that the process has been a breeze - that the result
has been almost automatic. This is certainly the case for the
furniture chosen for this project."

These are the words of Mirjana Grahovac, an architect at
Narud Stokke Wiig, the company responsible for furnishing a number
of new spaces belonging to the Norwegian government, referred to as
R6. Statsbygg, the Norwegian Government's central advisory agency
for building and property matters, coordinated the
project.

"Mirjana Grahovac, architect at Narud Stokke
Wiig"

"The newly furnished premises house the
departments of healthcare, agriculture and food and some of the
depatrment´s service functions"

The addition and interior design of the new locales respond to a
need for more space and the desire to better unite government
departments. The project involved furnishing buildings built in
2011 and 1899 in the Teatergata and Keysergata, respectively, in
central Oslo. The newly furnished premises house the departments of
healthcare, agriculture and food, and some of the departments'
service functions. Narud Stokke Wiig Architects, which completed
the complex task of furnishing the departments in 2012, is an
Oslo-based studio with a branch office in Lofoten,
Norway. Narud Stokke Wiig has deliberately avoided
specialising, which has enabled the studio to take on diverse
projects including new construction, transformation and urban
planning as well as urban, industrial and graphic design and
décor.

As Grahovac explains, a government project like R6 had to
meet very specific requirements:"A public building
represents the Norwegian Government and must signal both authority
and democracy. This means that the furniture must have an
institutional, formal look, while also being relaxed and inviting.
It must also add an intimate touch to a room without making it seem
private. It must not clamour for attention, but should be
compelling in its design, materials and workmanship. The design
must be beautiful, unglamorous, simple and timeless, so users will
not tire of looking at the furniture. The timeless quality makes
the furniture an investment in the future. The pieces will have a
very long life cycle, which also makes them eco-friendly."

"The main entrance of the Norwegian
Government´s building no. 6 in Oslo"

The main entrance is located in one of the project's new
buildings in Teatergata. Visitors are led into a large rectangular
hall with glass on four sides. The very minimalistic space features
circular, freestanding concrete columns, bare concrete walls, and a
light terrazzo floor. By virtue of its materials, the hall exudes
great coolness, and the sparse furniture had to match the
simplicity while also adding warmth. The team chose brown
leather-covered sofas designed by Hans J. Wegner. The accompanying
coffee tables, also by Wegner, have walnut tabletops.

"The hall exudes great coolness and the sparse
furniture had to match the simplicity while also adding
warmth. Here the team chose Hans J. Wegner´s CH404 sofa originally
designed for Copenhagen airport"

"The requirements for the new furniture were
challenging and exciting. Among other things, the furniture had to
simultaneously be institutional, formal - and relaxed"

"Sofa 404 and coffee table CH413 with tabletop
in walnut"

Widow's Hall is a large multifunction room located in a building
from last century that has been integrated with the new
constructions. So-called because it was here that widows came in
the early 1900s to receive pension payments for their deceased
husbands, Widows' Hall has not previously been used by the
government, although it has, among other things, been used for
filming. The historic, heritage-listed interior from 1899 is
therefore well preserved. Its columns and walls are covered with
carved, varnished wooden panels; above the panels, the walls are
plastered dark green. The floor is partially divided into walking
areas with patterned yellow and grey ceramic floor tiles, and
lounge areas covered with brown linoleum.

"The Widow´s Hall. The historic,
heritage-listed interior from 1899"

"In Widow´s Hall, it was vital to select
furniture that in no way imitates the characteristic expression of
the interior, but rather marks its independence in the space with
its modern and classic essence"

"The choice of sofa fell on Kaare Klint´s
Addition Sofa in leather designed in 1933 and Hans J. Wegner´s
Shell Chair designed in 1963"

"The upholstery colors - in both leather and
textiles - have been kept in the same brown hues as the panels of
the rooms"

"In Widow's Hall, it was vital to select furniture that in no
way imitates the characteristic expression of the interior, but
rather marks its independence in the space with its modern and
classic essence," explains Grahovac, adhering to the approach of
Japanese architect Sori Yanagi, who upheld the 'unconscious beauty
of everyday objects.' The highly versatile room has been furnished
to accommodate both small and large meetings. All the furniture in
the room is made of oil-treated oak, in harmony with the panels and
columns.

The choice of sofa fell on Kaare Klint's Addition Sofa in
leather, designed in 1933. Inspired by a French rococo sofa, it was
elegantly simplified and designed to make it easy to move around.
Wegner's Shell Chair, with an upholstered seat and backrest,
complements groups of Addition Sofas.

The upholstery colours - in both leather and textiles -
have been kept in the same brown hues as the panels. The furniture
thus complements the room interior in terms of colour while
contrasting in shape.

A pentagonal meeting room on the second floor has been furnished
with a round table and six CH445 armchairs designed by Hans J.
Wegner. "The chairs' organic forms help shape the room
architecturally. Choosing several chairs rather than a few sofas
has other advantages. Having more objects means there are more
textiles in the room, improving acoustics. And a carelessly
positioned sofa could spoil the pentagonal room, whereas the
sculptural chairs cannot be arranged incorrectly. However you
position them, they simply sit and speak kindly to each other"
Grahovac concludes.

"Choosing several chairs rather than a few
sofas has other advantages. Having more objects mean there are more
textiles in the room, improving acoustics "

"Noma is situated at Christianshavn in
Copenhagen providing guests with a spectacular view of the
harbour"

Certain phenomena around the world are synonymous with
outstanding quality. One such example is Hans J. Wegner who,
beginning in 1940, created furniture for 50 years and achieved a
level of beauty and function unsurpassed to this day. Noma, with
its uncompromising Nordic cuisine, is another such phenomenon.
Restaurant Magazine crowned Noma the world's best restaurant for
three consectutive years in 2010, 2011 and 2012. Noma also holds
two Michelin stars.

Since Noma was founded elleven years ago, the restaurant
owners, management and staff have worked hard to maintain and
improve quality throughout - including in interior design - to
ensure a holistic experience that speaks to all the
senses.

"When you sit up here, you are
even closer to Noma," says Peter Kreiner, CEO."

"The food, of course, takes centre stage, but it certainly
interacts with a number of other factors," says Peter Kreiner,
Noma's CEO since 2005. "The human experience - the service we offer
- has a tremendous impact. But the setting is also crucial. The
seating comfort, the table, the distance to other guests, the
lighting and the sound level - they all interplay. Guests have to
feel they are in a private setting, while also being able to enjoy
the room's dynamics, mood and atmosphere."

Some years ago, Noma added a smaller, private dining room on the
floor above the main restaurant for parties of two to 15, with the
same menu and the same experience, served by the same staff as in
the main restaurant.

"We wanted the dining room's furnishings to have clear links to
the main restaurant, but with a more playful feel. When you sit up
here, you are even closer to Noma," says Peter Kreiner.

The 5x12-metre room called for a long table. We then had to find
the right chair, which had to meet several
requirements. The most basic was durability: being able
to handle being moved around and used hour after hour - and to look
all the better for it.

"Its visual expression was equally important. It had to have
edge and signal quality. We wanted a chair with a good seat and
armrests, because our guests sit here for many hours. We tested
several chairs, and it was the CH46 that met all our requirements.
We were very happy we could get it in smoked oak - and fell for the
fact that this isn't a chair you see every day. We consciously
chose a design different from what we have in the restaurant. We
wanted the chair to stand on its own and contribute to the unique
identity of the space.

"The CH46 dining chair by Hans J.
Wegner was designed in 1965. This version is made in smoked oak
with a seat in natural papercord"

"To put the process of selecting furniture in a nutshell, I
would say that the creative has to blend with the functional such
that two plus two equals five. That is the essence. It was also
natural for us to look for something close to our own roots. We
Danes are quite proud of our design achievements, and Hans J.
Wegner is an important part of this picture."

Just 14 months after opening, Maaemo received two Michelin stars
for its original cuisine, based exclusively on organic Norwegian
ingredients. The restaurant's décor, with chairs by Carl Hansen
& Søn, also follows this natural principle.

Maaemo's guests arrive via a broad outdoor staircase leading up
to a large plateau. Located in Schweigaards gate, in the quarter
behind Oslo's central station, the restaurant is housed in a modern
building with glass façades. As you enter the double-ceiling room,
you get the sense of arriving in a megacity - a sensation
accentuated by the panoramic views of modern, glass-and-steel
high-rises that constitute Oslo's new business district, aptly
known as Barcode.

"The setting is international in the diverse
quarter behind Oslo´s central station"

The setting is international in the diverse quarter behind
Oslo's central station - and the location an unexpected choice for
a restaurant in Oslo - yet Maaemo's concept is deeply personal,
singularly Norwegian, and inspired by the idea of using locally
produced organic and biodynamic ingredients.

After working intensively to develop the Maaemo concept, they
threw open the doors of their innovative restaurant in December
2010. Many Norwegians are sceptical about organic products and
methods, but when Maaemo garnered two Michelin stars a mere 14
months after opening, the cynicism abated. Would-be diners now have
to wait several months for a table.

"As chefs, we have a responsibility to the
natural environment, and our goal is to get as close to nature as
possible"

"As chefs, we have a responsibility to the natural environment,
and our goal is to get as close to nature as possible," says
Jon-Frede Engdahl, who, in addition to being a Maaemo partner, also
runs Kolonihagen on Frognerveien in Oslo - a combined café, bakery
and shop selling organic and biodynamic food products. "Norway
boasts the world's best fish and seafood, and the Norwegian
countryside offers a wealth of exciting berries, plants and herbs.
However, the growing season for country produce is very short,
which means we have to be extremely creative in the way we treat
and use the raw ingredients. We generally know our suppliers well
and visit them all."

"Nothing at Maaemo is left to chance, and each
element has its place in a harmonious entity"

Nothing at Maaemo is left to chance, and each element has its
place in a harmonious entity. Entirely in keeping with this, the
interior design is a logical consequence of the restaurant's
fundamental concept.

"To create the perfect look for the restaurant, we spent a
lot of time discussing the emotional values we wanted Maaemo to
embody. We wanted a look that was honest, authentic, natural
- and as Norwegian as possible," says Engdahl.

"Maaemo´s decor is muted, with no superfluous
embellishments"

The restaurant has eight tables with room for 24 diners,
who can enjoy a view of the army of chefs working busily on the
inserted kitchen storey. There is plenty of space between the
tables - enough, in fact, to seat twice as many guests, but this
would have been at odds with the concept of attentive, personal
service that is a high priority at Maaemo.

Maaemo's décor is muted, with no superfluous embellishments.
White tablecloths cover the tables; the glasses and cutlery are
extremely simple to avoid drawing attention away from the main
focus: the food. The plates and serving platters are designed by
Norwegian ceramic artists, although wood and stone are also used to
serve the food.

"The dining chair we chose for the restaurant
was very important in terms of both function and expression. We put
a lot of thought into what we wanted from this particular element,"
explains Engdahl."

" The CH20 was designed in 1956 and has classic
style. It's exceptionally comfortable because the backrest provides
perfect support for your back while giving you freedom to move and
turn comfortably to either side."

" We chose the version in soap-washed
ash with a pale leather seat for its natural, elegant and pure
finish."

"The dining chair we chose for the restaurant was very important
in terms of both function and expression. We put a lot of thought
into what we wanted from this particular element," explains
Engdahl. "We scoured the market for suitable chairs designed by
Nordic masters and finally decided on Wegner.

"We considered the Wishbone Chair, which really appealed
to us, but once we'd tried the CH20 Elbow Chair, we didn't look
back. The CH20 was designed in 1956 and has classic style. It's
exceptionally comfortable because the backrest provides perfect
support for your back while giving you freedom to move and turn
comfortably to either side. The chair is clearly made
from high quality materials and finely crafted. And it has a
textural quality that harmonises beautifully with our core
values.

" We're convinced that guests can only have a
sublime experience if all the elements involved have real value and
meaning."

We chose the version in soap-washed ash with a pale
leather seat for its natural, elegant and pure finish. The
soap-washed version requires light but frequent cleaning, but the
effort is well worth it."

"We had a limited budget, so choosing a chair of CH20's calibre
meant we had to simplify other elements of the décor. It's hard to
define the myriad factors that go into creating the ultimate
restaurant experience. However, we're convinced that guests can
only have a sublime experience if all the elements involved have
real value and meaning. If we had bought an imitation chair, we
would have compromised our own standards of quality and
originality. And we couldn't have lived with that."

Carl Hansen, a trained cabinetmaker, opened his furniture
workshop in Odense, Denmark in 1908 and soon became known for the
high quality of his work.

In the early days, the company produced bespoke furniture
- including everything from dining room sets to bedroom suites. As
the company grew and times changed, the company gradually began to
produce smaller series of its most popular pieces. In 1915, Carl
Hansen took the major step from owning a workshop to opening a
factory in a new location with room for machinery and
journeymen.

Carl Hansen's workshop at Klaregade

Carl Hansen (1908-1959)

Journeymen at Carl Hansen´s factory

The company was doing well and in 1933, Carl Hansen decided it
was time to build a new modern factory outside the city of Odense
at Kochsgade.

In 1934 Carl Hansen experiences heart failure and his
illness forced his son Holger Hansen, just aged 23, to take over
the running of the company. As part of his new position, Holger
Hansen convinced his father to focus on chairs rather than bedroom
furniture. Ackowledging the new business direction, Carl toke his
son Holger as partner in 1943 under the company name Carl Hansen
& Søn.

The factory at Kochsgade

In the 1940s Carl Hansen & Søn started cooperation with the
already then highly regarded Danish architect, Frits Henningsen.
Henningsen designed a series of Windsor chairs and Carl Hansen
& Søn produced some of the models until 2003.

Frits Henningsens Windsor chair for Carl Hansen
& Søn.

Holger Hansen's sales manager at the time, Ejvind Kold
Kristensen, kept a close eye on the new breed of Danish furniture
designers that began to emerge in the 1940s. Kold Kristensen was
especially impressed by Hans J. Wegner, whose designs won critical
acclaim at exhibitions, but was relatively unknown outside of
specialist circles. Kold Kristensen had no doubt that Hans J.
Wegner was a designer who could propel Carl Hansen & Søn into
the next level of growth.

He approached Hans J. Wegner in the late 1940´s and the
collaboration between. Hans J. Wegner and Carl Hansen & Søn
began shortly thereafter.

Hans J. Wegner was both a gifted designer and a
skilled craftsman.

Hans J. Wegner designed four chairs especially for Carl Hansen
& Søn in 1949 - all of which came into production and were
launched in 1950.

Among the first four chairs was the legendary Wishbone Chair,
CH24 and the beautiful easy chair with seat and back in
uninterrupted paper cord weave, the CH25 - both have been in
production ever since.

CH24, also known as the Wishbone chair, was
designed in 1949 by Hans J. Wegner

The CH25 easy chair was designed in 1949 by
Hans J. Wegner

Holger Hansen, himself a master cabinetmaker as well as a
skilled businessman, worked closely with Hans J. Wegner to adapt
the company's series production to the radically different
designs.

Dedicating the majority of the production to a rather unknown
design was a huge gamble for Holger Hansen at the time. The designs
were no immediate success but after a few years the interest for
Hans J. Wegner´s designs grew both in Denmark and abroad.

The CH24 was supposed to be an easy chair to
manufacture but turned out to be anything but. It still takes over
100 manual operations to make the chair.

It takes a skilled craftsman 8-10 hours to
weave the CH25 easy chair.

Holger Hansen, Ejvind Kold Kristensen and Hans J. Wegner
formalized their cooperation in 1951, joining with other Danish
furniture manufacturers of Hans J. Wegner´s designs, to form
SALESCO, a unique sales and marketing company that promoted Hans J.
Wegner's work both in Denmark and abroad during the 1950s and
1960s.

SALESCO played an important role in promoting "Danish Modern"
furniture internationally and"Danish Design" began to capture
interest around the world.

Holger Hansen

SALESCO, however, did not last forever. First, Kold
Kristensen left in order to work with another promising young
designer, Poul Kjærholm. Then Holger Hansen dies suddenly - and all
too soon - in 1962.

Holger Hansen's widow, Ella Hansen, decided to keep Carl Hansen
& Søn in the family and led it through difficult times with the
help of her dedicated staff - a remarkable achievement for a woman
of her days. Her son, Jørgen Gerner Hansen, took over management of
the company in 1988. At this time the factory was still in the same
location as Carl Hansen moved it to in the 1930s.

Jørgen Gerner Hansen

Holger and Ella Hansen's second-youngest son, Knud Erik Hansen,
assumed leadership of the company in 2001. Since then, Carl Hansen
& Søn has built a new, modern factory in Aarup outside Odense,
Denmark.

At the factory in Aarup, Carl Hansen & Søn still
produce design furniture such as dining tables and chairs, easy
chairs, stools, sofas and coffee tables as well as office- and
children's furniture - all in the same high quality - especially
through a continued focus on years of proud tradition of
craftsmanship combined with the best modern technologies
available.

Today, Carl Hansen & Søn is the largest manufacturer of
furniture designed by Hans J. Wegner. Carl Hansen & Søn has a
close cooperation with the Hans J. Wegner Studio, which enables
Carl Hansen & Søn to introduce or re-introduce outstanding
designs from the treasure chest that Hans J. Wegner left
behind.

Carl Hansen & Søn also produces outstanding furniture
classics by some of Denmark's most influential architects such as
Mogens Koch, Kaare Klint and Ole Wanscher.

The Safari Chair by Kaare Klint, designed in
1933.

The Folding Chair by Mogens Koch, designed in
1932.

Carl Hansen & Søn also continues to find and incorporate new
designers like the Danish design duo Strand & Hvass and Thomas
Bo Kastholm, son of the famous Danish architect Jørgen Kastholm. In
2011 and 2012, Carl Hansen & Søn bought the renowned Danish
cabinet maker Rud. Rasmussen´s in Copenhagen and the Danish
furniture manufacturer P.J. Furniture in Store Heddinge. Thereby
enabling an even more specialized manufacturing of classic Danish
design furniture such as Mogens Koch´s bookcase system and Ole
Wanscher´s Colonial Chair.

In 2013 Carl Hansen & Søn re-launched a chair by the famous
Danish architect Frits Henningsen named the Heritage Chair-
Henningsen which Carl Hansen collaborated with the first time back
in the 1940s.

Internationally, Carl Hansen & Søn has recently started a
design collaboration with the world famous Japanese architect Tadao
Ando which has resulted in the Dream Chair, introduced at the
Salone del Mobile in 2013.

True to the company's founding values, it is Carl Hansen &
Søn's ambition to make furniture of highest quality, remaining
beauty and value with respect for sustainable design, materials and
more than 100 years of traditions of craftsmanship.